3rd Coast Music Magazine
John Conquests "Best of 2010" List:
BEST SONG: #1. New Mystery Girl's "Sally's Rumble" (Twist City)
BEST DEBUT ALBUM: #3. New Mystery Girl "Twist City"
Texas Platters-Girlie Action
BY MARGARET MOSER
New Mystery Girl
A motorcycle engine revving the start of "Drop Dead Gorgeous" kicks New Mystery Girl's old persona of Chrissy Flatt to the curb, and when the dust settles, Twist City spins with crunchy, roots-driven rock ("Staring Down," "Dangerous Lines," "Heard It All Before"), country-flavored roll ("Dandelion Roars," "Pirate Radio"), and sweet sentiments ("Gather All the Roses"). Here's hoping New Mystery Girl doesn't stay a secret.
TEXAS MUSIC MAGAZINE
New Mystery Girl is the new nom du rock adopted by Chrissy Flatt, whose Wings of a Butterfly and Walk With KIngs were two of the finest albums by an Austin songwriter to slip under the radar in the last decade. The new handle may be may be a mystery in theory, but it fits the swagger and attitude of “Twist City” like a glove. Flatt’s always been a rebel rocker at heart, and a dozen songs here evoke the myriad thrills of both 60’s AM radio and trashy pulp fiction (“Passion, lust, adventure...” reads the teaser on the back cover). Flatt doesn’t shy from flashing her key influences (the Kinks, Stones, Beatles and Ronettes all get a gleeful shout-out in the terrific “Pirate Radio”), but her sharp melodic hooks and spitfire lyrics “I twist through the city on electric wire”) are far too fresh and inspired to ever be mistaken for retro rehash. From the runway rush of the opening “Drop Dead Gorgeous” through to the haunting, drop dead gorgeous closer, “Ocean & Moon,” “Twist City” is a gas, gas, gas. – RICHARD SKANSE, Texas Music Magazine
3rd COAST MUSIC
Since the credits list Chrissy Flatt as lead vocalist, I’m hardly revealing her secret identity, but not putting her own name on her third album seems fairly obviously a way of creating a new persona for a new direction that’s rather different from her two self-released singer-songwriter albums, Wings of A Butterfly and Walk With Kings, neither of which , as I recall, billed themselves, like this one, as offering “Passion, lust, adventure.” After Flatt took up with grunge/punk/rockabilly guitarist Eric Hisaw, he evolved into a significant singer-songwriter himself, now, cross pollinating as it were, Flatt has mutated into a garage rock-cum-60’s girl group with attitude singer, though she’s her own Tin Pan Alley, writer of all twelve songs. The opening track, Drop Dead Gorgeous, with it’s Shangri-La’s Leader of the Pack motorcycle rumble, sets the tone for a riveting set which peaks with the absolutely fabulous Sally’s Rumble, about a wallflower snagging the man of her dreams, which is a neo-rockabilly classic, not to mention a terrific showcase for Flatt’s new style and deadpan delivery. It takes me back to the days when one would play certain 45’s over and over again. With a core band of Eric Hisaw, baritone, 12-string and acoustic guitars, Ron Flynt bass, B3, Wurlitzer and tambourine, backing vocals, Lisa Pankratz plays drums on seven tracks, Freddie Krc on three plus harmonica on another, while Eve Monsees of Eve & the Exiles plays electric guitar on the title track, another of the standouts, and sings backup on seven other tracks. Though there were shades of rock & roll in her earier outings, with this one, Flatt has blossomed in another unexpected, but in a very welcome way. Now I’m going off to play Sally’s Rumble a few more times. It’s my Song of the Year (so far). – John Conquest
SAN ANTONIO EXPRESS NEWS
This fantastic new album could easily have been titled How Chrissy Got Her Groove Back. Austin singer-songwriter Chrissy Flatt has taken on a persona, an invention called New Mystery Girl. And much in the way that the Beatles shed their mop-top facade and became Sgt. Pepper’s Lonely Hearts Club Band, Flatt reinvents herself (if not quite so drastically as the acid-drenched Fab Four) to free up her songwriting and delivery.
That’s especially evident on the opening number, Drop Dead Gorgeous. Flatt conjures the Shangri-La’s Leader of the Pack with the motorcycle rumble at the top of the number, which she propels with a perfectly disinterested punk vocal recalling Belinda Carlisle, Juliana Hatfield and Liz Phair - had those singers fronted the New York Dolls, the Ramones or the Seeds.
The garage-rock and pop elements fuse beautifully with Flatt’s folk and country side. The title track and Sally’s Rumble lovingly capture that sense of mystery and fun that made the records of the girl groups of the 60’s such a groovy ball.
– Hector Saldana
If you dig this album - check out her previous solo releases: www.CD Baby.com/ChrissyFlatt